A History of the Temple Expiatori de la Sagrada Familia

A History of the Temple Expiatori de la Sagrada Familia

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Category: Architecture and Design Essay
Subcategory: Architecture and Urbanism
Words: 3386
Pages: 7

The Temple Expiatori de la Sagrada Familia (also known as the Expiatory Church of the Holy Family) is undoubtedly one of the most intricate and complicated designs to ever be constructed, Antoni Gaudi, the man behind this masterpiece, has been labeled Gods Architect (G. Vanhansberg, 2013). This Catalan architects has methods and form were so complicated and advanced, that architects today are still struggling to decode his Modernismo technique. This paper will illustrate Gaudis planning, background history and design process. It will highlight the instrumental factors that morphed Gaudis vision into what has been constructed today, in the context of cultural form. The Sagrada Familia, as a precedent, is a visionary place of worship that holds a new set of standards for any similar typology to follow. Located in the Gothic Quarter of Barcelona with the east side intentionally facing the rising sun, this medieval church began as a mere example of the academic Neo-Gothic style. However, as time elapsed Gaudi veered away from the traditional Victorian style, incorporating his own creative flare through features such as the abstract ornaments found at the top of the towers (J. Roe, 2009, pg. 182). The initial design plan, as seen in Figure 1, shows how the Sagrada Familia progressively evolved into an Art Nouveau stylistic form. Gaudi had little in common with the historical styles that were most prevalent in the eighteenth and nineteenth-century, and instead attempted to reinvent architecture by taking natural form and incorporating innate aspects into his work (A. Ballantyne, 2012, pg. 158). This extraordinary architect developed a view that differed from the rest, believing that nature creates structural forms that are both statically perfect and extremely beautiful, and are based merely on functionality (J. Roe, 2009, pg.7). This stylistic view Gaudi recognized was not studied until the end of the eighteenth century, where these geometrical forms were then defined...

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